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We are usually influenced by the opinion of others about us and this influence usually causes us to hide our true identity. In Erlend Steiner Lovisa work, apparently everything is visible and manifest in realism that permeates his work. All is true, but Erlend, book the secret identity of each of his characters. Why?
All his paintings tell a story. The fact that the faces are hidden at the viewer generates an intrigue, doubt, but the bodies are impregnated movement and contact with the world around them , as a whole. It is the spectator who through their feelings and emotions interpret the story that lies behind them. It then becomes necessary to listen carefully to what happens and how it happens to identify the exact moment of what's going on.
R.- Erlend Steiner Lovisa ¿is your full name, or your stage name? How do your friends call familiarly?
E.- Yes, is my birth name, they usually call me Erlend.
R.- You , usually take pictures of your models and on occasion I have seen that you have created a performance. Could we then say that you are both a painter, a photographer and a performance? How do you qualify yourself?
E.- I identify first as a painter , but I like to take pictures and use them for my paintings. My photos are mis sketches. Once every two years I paint a self-portrait to reflect on myself, my ideas, and see my evolution.
R.-¿Could you explain briefly the process of creating your work? Where does your inspiration come from? They say that writers usually carry a small notebook in which they write down everything that gets their attention, even on the subway or in a coffee. Do you have something like this, or is your memory who works?
E.- I have a notebook in which I write my ideas, but my paintings and prints are part of a process consisting of different stages. Photos are the sketches that serve as the basis for my still life works . Photos taken at beaches, dunes, grasslands or a wall. I usually take advantage of the shadows and lighting; preferably at sunset. I omit all unnecessary because the realism is reinforced. I am fascinated by the long hair and bare feet.
R.- What techniques you use in your paintings?
E.- Depends: In oil painting I start with pencil. For the first layer I have it clear, for in it are all forms. I then paint the second coat wet on wet. The paintings were previously mixed in the amount and the right color. For each of the paint, as the blouse or hair, I use 4/8 mix. Each color has its own brush and never i mix the colors on the canvas.
In such acrylic paint, I make many transparent layers over each other, up to twenty layers. I use plenty of water. The layers can be seen in the work thus allowing me to create the right color.
For etchings I edit 12 Printable parts. The first printing of the third edition, I always leave it in black and white. Prints 4 a 12 are in color, and i use acrylic paint. . To color my etchings I use the same technique of acrylic paint. All colors are different which makes them unique engravings.
The drawings are a vehicle for inspiration. I use black or brown ink and a brush. I draw on nature and add different themes to test and become familiar with the forms.
Finally in paintings and prints I use photography as a basis. I myself choose my models. The first thing I do is look for a place and position the model in the position i want, in detail, eg fingers together or not, with clothes and shoes, or barefoot.
R.- Do you support your work in digital media?
E.- Yes, sometimes I edit a photo on the computer then print them to use as inspiration for a new painting. I promote my work in social media and I have created and designed my website. (www.steinerlovisa.com)
R.- What do you want to convey with your work?
E.- The woman in my paintings or prints tells a story. Her face is hidden. What does that woman in that position at that place inside or outside? The viewer must find the emotion itself and make its own history. The woman is elusive and ephemeral, so my job is to be interpreted in a similar way.
I use wigs, for emphasis on the hair. The hair is removed from its context and, therefore, has more meaning load of.
I seek the elusive and to strengthen transience. Also the antithesis of life and death are present in my work. How life is captured? I freeze a moment of it, like the mummies of Egypt. Life, valuable and fragile, is reinforced by the contrast of bones and skeletons. And I am fascinated by ancient civilizations such as Greek mythology, the Aztecs in Mexico, the tombs of ancient Egypt, or Pompeii. I´m seeking the center of existence.
R. Your works usually depicted figures in the foreground and the deep bottoms. What are you trying to convey?
E.- Good question, the women is the most important way, she stands there strongly, and is the center of the image. There is nothing around. In the foreground you can see everything. The background is as a view from afar, in which you can not appreciate the end.
Through a distant background, woman enters the scene. She is well on the image to give it a harmonious whole and tranquility. She's in a spacious environment where clearly shown itself.
And the viewer plays the role of a voilleur. He view an intimate portrait and tries to find more of the person, but can not see her clearly. A hidden person, in contrast to the visible environment, begs questions.
R.-What legacy would you like to let us?
E.- Life is beautiful and I want to keep it. I want to capture life as did the old masters. This way I can save time. I hope to capture the spirit of an era.
R.- Can you tell us a painting that represent excellence in painting for you?
E.- The work of William Waterhouse, Odilon Redon, or Gustav Klimt .
R.-What hobbies do you have? What do you like doing when you're not painting?
E-I love music. I come from a family of musicians. I listen to music when I paint, especially Classical. I'm a drummer in a blues band. (Facebook) and I compose electronic music.
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